I have been all busy this month but I'm back on track to post more paintings from my current group exhibition at Enid Lawson Gallery.
Here I am focusing on 3 plein air paintings, I have got in the show.
Evening Light, Earls Court
Evening Light, Earl's Court, 10" x 8", oil on board, 2011 SOLD
Here I was geared up to capture a very busy road in London, it took a bit of boldness to pitch my easel right in the main stream of things. The advantage of working in such busy areas is that you are forced to make an accurate painting because so many people can see what you are painting and if it's good, you'll get so many words of encouragement! I made a very detailed sketch before putting any paint, while working on this one, because it's such a complicated scene and I didn't want to get off track in the middle of painting. I was pleased with the result
Morning Light Albert Bridge II
Morning Light, Albert Bridge, 8" x 6", oil on board, 2010 SOLD
Here it was early in the morning and I had to find a high spot to capture a beautiful morning light coming up around Albert Bridge. Here, I also did a sketch but it was very loose and just helped me to locate where things are. I mainly concentrated on getting the mood and atmosphere right, especially in the sky area.
Summerlight Cadogan Arms, Kings Road
Summerlight, Cadogan Arms, Kings Road, 8" x 6", oil on board, 2011 SOLD
This was another busy spot! Right on King's Road in summer! You get so many onlookers but it's great, I feel I was made for the outdoors and I try my best to concentrate even though I take much time to chat with commuters. It's great to hear the history of some of these places while painting. I did a detailed sketch before starting this one because, it did seem tricky at first, even though it's simple looking on the eye. I think any scene involving roads can easily go wrong, if the drawing is off. I don't always like standing while painting but I had to while doing this on because it was the only way I could see the scene properly.
To see the full catalogue of the exhibition, click HERE
"Look for the kind of nature that suits your temperament. The motif should be observed more for shape and colour than drawing...precise drawing is dry and hampers the impression of the whole, it destroys all sensations. Do not define too closely the outlines; it is the brushstroke of the right value and colour which should produce the drawing...Paint the essential character of things: try to convey it by means whatever without bothering about technique....."-Pissaro's advice to young painter, Le Ball, 1881.